Frank Stallone’s closing song Peace in Our Life is mocked as a weak imitation of Springsteen.
No Best Needle Drop is selected. A new Frank Stallone Award for Worst Needle Drop is proposed for inclusion in the category list, while his Staying Alive song gets qualified praise.
No Best Needle Drop is selected. A new Frank Stallone Award for Worst Needle Drop is proposed for inclusion in the category list, while his Staying Alive song gets qualified praise.
Period-marker candidates include Martin Kove, Berkoff, the Frank Stallone ending and asking whether they can win this time. Kove is preferred from that list; the rescued prisoner asking the year is also offered. The transcript renders the year inconsistently.
A proposed comic beat would let the rescued prisoner ask what he missed, including Jaws and Red Sox and Celtics results.
The rock-breaking prison opening establishes the mission quickly, delivers an immediate explosion and ends with the question about getting to win this time; Rambo’s immaculate hair is enjoyed.
The airplane jump mishap is enjoyed for forcing Rambo to cut away his equipment and for the reaction shots, while the failure to deploy an elite soldier properly is mocked.
The meeting with Murdock and Erickson is added to the rewatchable-scene candidates.
The boat conversation with Co is enjoyed as awkward romantic comedy: becoming war, being expendable, the lucky knife and his interest in her necklace.
The boat ambush and escape are enjoyed, especially Co greeting Rambo and telling him he is not expendable; the hosts connect the wording jokingly to The Expendables.
The aborted helicopter rescue and ensuing Trautman–Murdock confrontation are praised. A proposal to strand an injured Trautman with Rambo is rejected because his return confrontation is needed.
The electrical torture and radio threat to Murdock are praised, including the perfectly timed lightning. The captors are faulted for leaving Rambo unrestrained and insufficiently guarded.
The kiss before Co’s death provokes jokes about Rambo’s hygiene after captivity; Schwarzenegger’s resistance to romance scenes in Predator and Commando is contrasted with Stallone’s embrace of them.
The revenge montage is praised first for the mud-wall reveal, then its peak is revised to the exploding-arrow kill. The soldier repeatedly missing is compared to Charles Smith failing to score against Chicago and to the UHF parody.
The slow-motion escape, emergence from beneath the helicopter, helicopter attack and gratuitous Stallone screams are celebrated. The hosts imitate the distinctive Stallone and Schwarzenegger vocalizations.
Rambo destroying Murdock’s office and firing into the air is singled out as the best five seconds; he ultimately places the knife beside Murdock instead of killing him.
The closing patriotic exchange with Trautman and Frank Stallone’s Peace in Our Life are mocked, with the song characterized as a weak Springsteen imitation.
A rewatch with a son produced similar objections to the melancholy closing songs of both First Blood films; Rambo walking off to nowhere is mocked.
The murder montage, particularly the mud-wall reveal, is the final Most Rewatchable Scene choice; it is compared to a slasher film and an intensified First Blood sequence.
The beach embrace, lost surprise, racial framing, Pushing, Rocky’s ingratitude, Paulie, the Rocky II recap, Mickey’s sudden Jewish history, and fight realism draw criticism.
